Washington Post's Scores

For 7,516 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Graduation
Lowest review score: 0 Simply Irresistible
Score distribution:
7516 movie reviews
  1. As for Damon, this may not be a performance so much as an appearance. But he cares so utterly, it works.
  2. Everything from time travel to melodrama figures in this whimsically daft story, a romanticization that tries your patience even as your tear ducts well.
    • 58 Metascore
    • 60 Critic Score
    For the first time in 30 years, Ziggy Stardust and the Spiders From Mars appear on the movie screen as Pennebaker intended. It's almost worth the wait.
  3. It's a pretty good sub movie, with some pretty good performances, that, alas, somewhat disintegrates in the last half-hour.
  4. Yes, Knowing is creepy, at least for the first two-thirds or so, in a moderately satisfying, if predictable, way.
  5. What's so good about the movie is Gyllenhaal's refusal to show off; he doesn't seem jealous of the camera's attention when it goes to others and is content, for long stretches, to serve simply as a prism though which other young men can be observed.
  6. The cast and the direction are too good, in the end, for the rather desultory place the movie ends up.
    • 48 Metascore
    • 60 Critic Score
    A character study with underdeveloped characters.
  7. Anthony Hopkins, with a toothpick and a slouch. Fabulous!
  8. On the Outs has its rewards, especially in the mesmerizing performance of Marte.
  9. As a satire on Tobacco Inc.'s outrageous ability to market carbon monoxide as the elixir of life, this movie should be packing more nicotine.
    • 81 Metascore
    • 60 Critic Score
    The total effect is fast and attractive and occasionally amusing. Like a good hot dog, that's something of an achievement in a field where unpalatable junk is the rule.
  10. There's nothing "wrong" with this movie but it feels like warmed-over business as usual.
  11. Doesn't connect with its audience in the one place that matters most: the heart.
  12. Wildly uneven but often quite funny, The Grand allows its actors to act out, get the "E!" out of their systems and give the Christopher Guest treatment to professional gambling without Christopher Guest, with whom it would have been funnier and a lot more acerbic.
  13. Some viewers will miss the warmth and boisterous family dynamics of its predecessors.
    • 74 Metascore
    • 60 Critic Score
    Placid and rather attractive on the surface, with depths you can sense but which are never fully plumbed.
  14. Ultimately, the movie's too uneven to be totally satisfying.
  15. Gets by on quirky charm and slacker chic-but just barely.
  16. Myers, who created the original characters, has to make a feature film out of a teeny sketch. With cowriters Bonnie and Terry Turner, he fares better than you'd expect.
  17. Say this for Confetti: It's a crowd-pleaser. If, that is, the crowd is composed of people who have never seen a movie by Christopher Guest or a TV show starring Ricky Gervais.
    • 62 Metascore
    • 60 Critic Score
    True to his resume, director Lyne produces a frenetic battery of visceral images, ominous music and that ol' faithful standby, the eerie background chorus. To give Lyne his relentless due, this does make for some heart-thumping moments. But it also causes Ladder to fall ultimately flat on its surrealistic face, the victim of too many fake-art sequences.
    • 68 Metascore
    • 60 Critic Score
    While Soul Food aims to be the kind of hearty, satisfying story that sticks to your ribs, it comes across more like an appetizer or a midnight raid on the fridge. Tasty, but easily forgotten.
  18. The kind of stunning and contentious work of art that will leave a lot of folks speechless.
  19. Ron Howard somehow makes a great movie and an awful movie, all at the same time.
  20. Lacks emotional depth and intellectual sincerity.
  21. Where Town and Country gets really good and weird – and I do mean good – is only after about an hour into it in deepest, darkest Idaho.
  22. The script is adroit: It doesn't force the humor, and it steadily keeps track of Jim's growing maturity.
  23. Like the South, the movie is sumptuous and somnolent.
    • 80 Metascore
    • 60 Critic Score
    You leave the theater feeling moved by a mother's courage, sickened by the crime and a little frustrated, wondering if this unquiet moment in our history will ever rest easy.

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